Right on. You clearly know what's up. Much respect.
I had to google Violets, but it was worth the time. Some nice mics! My recommendation stands, after reading the remarks of veteran drummers who know drums better than I do; if it tracks right, it is right. Players will want to come in with their own snares and cymbals almost 100% of the time, so there's that. They'll need stands and booms and such, which might be in your interest to provide.
I'm really interested to hear how ribbons work out for you as the "overheads". Are you putting one a few feet above the snare and the other to the right side of the kit, or are you genuinely using them as overheads, in an X/Y or A/B configuration somewhere above the entire trapkit?
Large diaphragm condensors are the standard, and rightly so. I happen to prefer small-diaphragm condensers at 40" to 48" from the snare, one directly over the snare, the other just to the right side of the kit. If you haven't already, I would recommend trying it, if only for fun. I went with the Sennheiser 602 for the kick, but it's only marginally better than an SM57. As I'm sure you know, you get most of what you need from the condensors; the other mics are just salsa.
OK so, I am not a professional engineer, my methodology is just built over the years from experience of what sounds right for the artists I was recording in the rooms I was in, but for what it is worth:
I prefer large diaphragm mics for overhead on rock drumming, while I find small diaphragms are great for softer touch/precision work. I am lucky enough to have some mics which are mid-sized diaphragms (also violets -fingers) which, as you’d expect, are sort of best of both worlds and very useful.
I far prefer Glyn Johns with ribbons to spaced pairs. The traditional figure 8 sound huge and naturally capture less of the cymbal’s sizzle. The problem with the figure 8 is that you need a good room. The beyerdynamic M160, in Glyn Johns, has a more focused mid-range that beautifully captures the snare. I sometimes do not even mix in the snare mic when I use the M160s. A bonus is that the M160 is cardioid and therefore the quality of your room is less relevant.
A tighter configuration to the Glyn Johns is the “recorder man” array. This is a very close miced overhead technique (usually 32” from snare center) that is similar to Glyn Johns and it is your best bet with a bad sounding room IMO. I have played with this method with M160’s and my mid-sized condensers successfully. For what it is worth I am not afraid of a mono overhead or even a single mic for the drum kit if it’s a good room and the drums are a secondary player for the song. A great jazz drummer (in this case I mean someone with complete control of the dynamics of his kit through his/her playing rather than through my mixing) in a great room can sound amazing with a single high quality mic that its placed just right.
I only use overhead spaced or OTRF if I am micing kit drums individually. IMO that is most applicable for a drummer who wants a very controlled, very artificially balanced (meaning the balance/mix is artificial, the drums themselves sound natural) sound as an artistic choice.
My favorite in-kick mic is the EV868, I sometimes use a heil pr40 or beyerdynamic m88 for a less scooped sound. Outside I use the TGx-50 I mentioned or a large diaphragm condenser. A ribbon pulled way back can be cool in a nice room.
Personally, I only ever use a beyerdynamic M201 on snare. I have never recorded fancy brushwork personally, but I’d be inclined to try a small diaphragm mic on the snare for that.
For room/ambient I use all sorts of stuff ranging from precision to low-fi depending on the sound that the drummer is going for and whether I am trying to capture more than just him/her (for instance amps, piano etc. to create a “live” vibe). I am a big fan of bleed (picking up multiple instruments in a single mic capture) if the band is good enough to control their dynamics or the composition is carefree enough to benefit from intentional sloppiness.